Adrian Willaert and the Theory of Interval Affect: The by Timothy R. McKinney

By Timothy R. McKinney

Within the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is located, for the 1st time, a scientific technique of explaining music's expressive strength established upon the categorical melodic and harmonic durations from which it truly is built. yet this 'theory of period affect' originates no longer with those theorists, yet with their instructor, influential Venetian composer Adrian Willaert (1490-1562). simply because Willaert left no theoretical writings of his personal, Timothy McKinney makes use of Willaert's track to reconstruct his leading edge theories relating how tune may well speak extramusical principles. For Willaert, the appellations 'major' and 'minor' now not signified in basic terms the bigger and smaller of a couple of like-numbered durations; relatively, they turned different types of sonic personality, the individuals of that are similar by means of a shared sounding estate of 'majorness' or 'minorness' which may be manipulated for expressive reasons. This booklet engages with the madrigals of Willaert's landmark tune nova assortment and demonstrates that they articulate a idea of musical impact extra complicated and forward-looking than well-known at present. The booklet additionally strains the origins of 1 of the main common musical institutions in Western tradition: the thought that significant periods, chords and scales are compatible for the expression of chuffed affections, and minor for unhappy ones. McKinney concludes by way of discussing the impression of Willaert's idea at the madrigals of composers resembling Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the speculation of period impact from the Renaissance view dependent upon person periods measured from the bass, to the Baroque view dependent upon invertible triadic entities.

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Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino

Within the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is located, for the 1st time, a scientific technique of explaining music's expressive energy established upon the categorical melodic and harmonic durations from which it really is built. yet this 'theory of period affect' originates now not with those theorists, yet with their instructor, influential Venetian composer Adrian Willaert (1490-1562).

Extra resources for Adrian Willaert and the Theory of Interval Affect: The Musica nova Madrigals and the Novel Theories of Zarlino and Vicentino

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Todestag Philipps des Schönen, (Tutzing: Hans Schneider, 2007), pp. 157–88. 37 Carl Dahlhaus has examined the numerous ways the terms “durum” and “molle” have been applied to music over the centuries in his “Die Termini Dur und Moll,” Archiv für Musikwissenschaft 12 (1955), pp. 280–96. See also David E. ), The Cambridge History of Western Music Theory (Cambridge: Cambridge Univ. Press, 2002), pp. 307–63. Bernhard Meier notes that, although not yet widespread in written sources, the Latin terms “tertia dura” and “tertia mollis” for the major and minor third, respectively, begin to appear in theoretical treatises written in Germany in the early 16th century; The Modes, p.

59 See also the discussion of a similar striking accidental in another of Dufay’s works in Don Michael Randel, “Dufay the Reader,” in Music and Language (New York: Broude Brothers, 1983), p. 72. 60 Alejandro Planchart, “Notes on Guillaume Du Fay’s Last Works,” Journal of Musicology 13/1 (1995), p. 60. Planchart (p. 56) remains open to the possibility that the changes in harmonic color were intended affectively. See also Robert Nosow, “Song and the Art of Dying,” Musical Quarterly 82/3–4 (1998), pp.

127–37; Ellen S. Beebe, “Text and Mode as Generators of Musical Structure in Clemens non Papa’s Contexts 21 the change from a normal contrapuntal texture, featuring many stable five-three sonorities, to an emphasis on less stable six-three sonorities and parallel voiceleading perhaps constitutes sonorous mimesis by imitating the rise and fall of the voice of one who weeps and wails. Most instances, however, represent cognitive mimesis, depending as they do upon the listener making the association between the harmonic instability and weakness in the music and the emotional or physical instability or weakness mentioned in the text, or on associating a waywardness in voice-leading with sin or some other digression from natural order, or on associating an outdated musical style with times past, and so forth.

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